Method of producing multipose pictures



July 7, 1931. c. w. BHOSYS 1,813,436

METHOD OF PRODUCING MULTIPOSE PICTURES Filed Agg. 16, 1928 2Sheets-Sheet l avwewtoz n. film/i141 [KB/11219;

. 331 hi elf Toma July 7, 1931. c. w. BHOSYS 1,813,436

METHOD OF PRODUCING MULTIPOSE PICTURES Filed Aug. 16, 1928 2Sheets-Sheet 2 @51 in? Gum,

Patented July 7, 1931 PATENT OFFICE CHARLES WTLLIAM BHOSYS, OF NEW YORK,N. Y.

METHOD OF PRODUCING MULTIPOSE PICTURES Application filed August 16,1928. Serial No. 300,127.

This invention relates to the art of photography and more particularlyrefers to improvements in the production of photographic compositionsobtained by combining a plurality of exposures of the same subjects.

The primary object of this invention is to provide a novel and improvedmethod of producing photographic compositions in the nature of groups ofindividuals or other photographic subjects, consisting of the samesubject or subjects photographed at different times and in differentpositions on a single negative, without showing any line of demarcationbetween the different exposures.

Another object is to provide a novel and improved method of producingphotographic compositions of the character mentioned where some of theexposures are co-rela-ted in order to produce a cumulative effect ofmovement or interaction.

A further object is to provide a novel method of a simple character forproducing photographic compositions in the nature of groups obtained byvarious exposures of the same subject or subjects on a single negative,where some of the exposures are in overlapping relation to one anotherproducing a realistic effect as if two individuals or subjects hadactually been photographed at the same time while one was partly ortotally in front of the other.

Other objects and advantages of the present invention will more fullyappear as the description proceeds and will be set forth and claimed inthe appended claims.

Double or multipose exposures of the same subject on the same negativehave heretofore been produced by limiting the field of projection of theobjective within the camera to a portion of the negatives surface, andby shifting the negative to a successive position so as to expose a newportion thereof for each exposure.

The result is a series of two or three or more separate pictures of thesame subject on the same negative; but the exposures thus obtained aresharply defined and independent of one another, and being totallyunrelated do not produce a single photographic composition such as forinstance, a group of'people photographed together against a singlebackground and in a single exposure.

The chief aim of this succession of fractional exposures of a negativeis to effect savings of material and time in producing variousphotographs, which need not necessarily be of the same subject; butthere is no question in this case of producing photographic compositionshaving any special novelty or artistic value.

The present invention refers to a process whereby various exposures ofthe same subject are taken on the same negative at different times andin different relative positions where the negative is entirely exposedto photographic action at each exposure and does not have to be shiftedfrom one position to another. By using a special type of background andby paying proper atten tion to certain conditions governing the actinicvalue of various portions of the subject being photographed, it becomespossible to produce novel, puzzling and artistic effects giving theillusion of groups of individuals or subjects being photographed at thesame time in different positions and postures, said individuals orsubjects all having the same features while only one individual orsubject has actually been photographed.

My invention which is applicable both to still and to moving pictures,will be more clearly understood by referring to the ac companyingdrawings in which:

Fig. 1 illustrates an individual exposure of a photographic groupcomposition;

Fig. 2'shows another exposure of the same subject in a different pose;

Fig. 3 illustrates a still different exposure of the same subject in adifferent pose;

Fig. 4 illustrates the combined group effect obtained by the threeexposures of Figs. 1, 2, 3; s

Fig. 5 is aplan View illustrating the various positions of the subjectin relation to the camera in the three exposures;

Fig. 6 is a fragmentary front view of a special type of photographicbackground which may be used in carrying my invention into practice;

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Fig. 7 is a side view in elevation thereof; Fig. 8 is a front viewillustrating two different co-related positions of the samesubjectproducing together a photographic composition I Fig. 9 is a planview of the same; and

Fig. 10 is a front view in elevation of an adjustable standard which"may be used as a reference medium in determining a pose of the subjectin relation to its pose in a preceding or following exposure.

Figs. 1 to 5 illustrate the manner of producing a multipose photographiccomposition according to myinvention, the final result being illustratedin Fig. 4. In the same itis seen that the same person has beenphotographed three times inthree different poses combining to form agroup which gives the illusion of being the result of the photographingby a single exposure of three persons. arranged in a group, saidpersons. having similar features but being in different posturesand-occupying different positions.

he group comprises one picture ofa girl standing in proximity of a table21, while in another picture 22 the same subject is shown sitting withthe table in front of her, and in another picture 23 at the right stillthe same subject is shown stand ing, pouring tea in a cup 2 1 resting onthe table, from a pot 25 held in her right hand.

This third picture partly overlaps the second one, the left hand 26 ofthe girl concealing part of the table and her right hand 27 and the potheld thereby, concealing part of the body of the subjectin the sec. ondpicture. There is no line of demarcationdefining the three separateexposures, and the effect produced creates the perfect illusion; ofhaving been obtained at a single exposure. I V

The individualexposures are separately illustrated in Figs. 1,2, 3,where it is seen that the subject whichis designated by the samereference characters used in Fig. 4, occupies the same relativepositions with respect to the table 21 as shown in said llthreeexposures are takenagainst a black or non-actinic' background 28 shownin Fig. 5, and the camera 29 is set in a position which remains the samefor all three exposures,

The non-actinic character of the background causes the sensitizedsurface'of the film or plate to be affected exclusively by the subjectat each exposure, while the rest of the, space within'the range of theobjective remains perfectly blank. insofar as the sensitized surface isconcerned.

Thus in Fig; 1 the-portion of the plate which is not affected by thenon-actinic background remains capable of being affected by the subjectwhen the subject is moved to'the right to the position of Fig. 2; andsimilarly that portion still more to the right which has not beenaffected due to the non-actinic character of the background is stillavailable for the taking of a third picture such as illustrated in Fig.3. V

Assuming that there are no other objects or subjects in the picture, thepicture would now be complete, except that an explanation must be givenof the reason why some parts of the subject may be made to appear asoverlapping other parts within the range of aformer exposure. This isdone by causing the parts which are overlapping to have a higher actinicvalue with respect to the sensitized surface than the parts which areoverlapped thereby; also by taklng the exposure with thehigher actinicvalue subsequently to an exposure having a less actinic value. V

The actinic value of a given subject or of given parts of a subjectwith'respectto the sensitized surface of the plate is determined bycolor'and by distance.

For instance, assuming that the subject in one exposure wears a darkdress and in another exposure a light colored dress, if parts of thesubject in the two exposures are overlapping, the lighter surfaces willaffect the negative more than the darker surfaces and will appear asoverlapping the same; the same thing happens for instance, if the harehand of the subject, in one exposure appears in the same portion of thefield as the surface of the dark dress taken in a different exposure;

, When there is a marked difference in color between the two overlappingsurfaces, the subject may be. placed atpr'actically the same distancefrom the camera in the two exposures'if desired; it is preferable110wever, and-in many cases imperative that the pixposure having a lessactinic value be taken rst. I i

In this manner: the lighter surfaces will appear as overlapping-thedarker ones. However, a true effect of relative proportions will. belacking, because when a subject is overlapping another it is naturallycloser to the camera and appears in somewhat enlargedv proportions;therefore in order to obtain a truer effect it is better to place thesubject nearer to the camera in the second or overlapping exposure.

This in its turn assists. in improving the results, because as stated,distance is; also a factor in determining: the tone. value of variousparts of the picture. For instance, assuming that the subject wears thesame dress for both exposures, the merefact that in the second exposureit is placed from one to twofeetnearer the camera is sufficient toestablish a sharp distinction between the overlapping parts of the firstexposure will appear clearly defined in the picture as such, entirelyblotting out what-ever impression the surfaces behind may have made onthe sensitized surface.

Thus referring to Figs. 4 and 5, it is seen that parts of the picturetaken in the third exposure are placed in front of parts of the picturetaken in the second exposure; and being nearer the camera the same Willappear as shown providing a true depth effect for the finishedcomposition such as would be obtained if two different exposures wereactually photographed at the same time in the same positions.

Another factor which deserves consideration in the production of thesemultipose pictures, is the cor-elation which it at times requiredbetween the positions of the subject in differentexposures in order toproduce a predetermined result.

Thus it will be noted that in the group under consideration, a table 21is used together with a cup 24; lying on said table and a tea pot 26from which tea is about to be poured into said cup by the subject in thethird exposure acting as a hostess for the subject in the secondexposure acting as a guest.

The medium used in order to set the various elements in their properrelation is in this case the table 21 which also forms a part of thepicture; and the result illustrated in Fig. 4 is obtained by coveringthe table with a black non-actinic cloth 30 during the first and thirdexposures and un covering said table for the second exposure.

The effect of the non-actinic covering for the table s to render thesame absolutely in active and blank insofar as the sensitized surfaceconcerned.

The space occupied by the cloth is rendered active during the secondexposure because at such time the parts of the subject under the tablemust not be concealed, and because at some time or other during theoperation. the table must be shown anyway if the ultimate result is tobe achieved; and by once more covering the table during the thirdexposure, the impression previously created upon the sensitized plateremains unaffected and the cup 21, pot 25 and hand 26 of the subjectwill appear as overlapping parts of the table and of the body of thesubject respectively, appearing in the previous exposure, due to thehigher actinie value of said. cup, pot and hand as explained.

If desired a finishing touch may be given in o der to improve theartistic value of the composition by printing the positives with the aidof a transparent background or vignette such as currently used byphotographers in portrait work.

On the other hand certain photographers prefer to use paintedbackgrounds, and this is particularly true when some special effect isdesired calling for a special composition.

I have therefore devised a special construction of painted backgroundwhereby my method may also be carried into practice by applyingsubstantially the same principles upon which the fundamental idea isbased.

Referring to Figs. 6, 7, 8, 9 it will be seen that my improvedbackground comprises a rear panel 31 which covers the entire field andwhich has a black or non-actinic surface, and a plurality of panels 82,33, 34 together forming the painted background, which may beindepei'idently placed in front of the rear panel or removed therefrom.

In the example shown 32, 33 designate two side panels and 34 designatesa center panel, and it is seen that the two side panels are slightlyahead of the center panel and have their inner edge portions 35, 36overlapping the edge portions 37, 88 of the center panel.

\Vhen a multipose picture is produced using this type of background,each exposure is taken with the subject standing in front of thecorresponding panel of the painted background while the remaining panelsare removed. so as to expose the non-actinic surface behind; the exposedpanel therefore becomes a part of the finished picture.

When another part of the composition is produced by a succeedingexposure, the subject is placed in another position in front of thecorresponding painted panel, and the other panels including the onewhich was previously exposed are withdrawn so as to expose thenou-actinic surface of panel 31; and so on.

The ultimate result is a con'iposition where not only the subject isportrayed in different poses which may be co-related or partlyoverlapping, but also the background is portrayed to give the trueillusion of a group taken in front of the same.

The various panels composing the background can be of any suitable formor design as long as the painted ones can be moved on and off the rangeof the objective for the purpose stated. A convenient construction isshown in the drawings partly in Fig. 7, where it is seen that thevarious panels are of a flexible type and are mounted on rolls 3), 40,41 upon which they can be wound or from which they can be unwound afterthe fashion in which ordinary shade rollers or stage settings areoperated.

In Fig. 8 is shown a composition comprising two exposures of a girl,'iortraying two girls shaking hands with each other.

This (so-relation of the two exposures makes it necessary to pay specialattention to the relative positions of the two clasped hands in eachexposure in order to make sure that a correct result will be achieved.

URI

In cases of this kind it is best to make use of some reference medium orgauge whereby the correct position of the two co-related portions of thepicture can be determined.

For instance, in Fig. 10 I show a stand 42 provided with an adjustablestandard 13 which may be set at any desired height by means of a setscrew l4, and said stand is also shown in dotted lines at 42 in Fig. 8;In the same it will be seen that the right hand of the subject in eachexposure is caused to rest upon the top of the standard 43 which haspreviously been adjusted at the proper height. The stand itself however,must not appear in the picture, and therefore it is used. merely as agauge to determine the height of the hand before each exposure and it isremoved before each picture is actually taken. If desired however, inone of the exposures, the stand may be used as, a support for the handprovided it is painted dead black or is concealed by a black or1i.01]-21(1tll1l0 colored cloth, and provided it does not conceal partof the subject. When a painted. field such as shown in Figs. 6 to 9 isused, the central panel should preferably be a little darker than theside panels so as to produce an effect of depth in the background, thisbeing in conformity with the current practice in the use of paintedbackgrounds where the central portion is generally darker. Furthermorethe side sections or panels should overlap the central panel in order toproduce an effect of continuity without sharp lines of de marcation; Itis obvious from the foregoing description that in carrying my inventioninto practice some of the operative details may vary to a certain extentfrom those shown anddcscribed without departing from the.inventive idea.The drawings should therefore be considered as being intended forillustrative purposcs only, and not in a limiting sense. 1

I accordingly reserve myself the right to carry my invention intopracticein all those ways and manners which. may enter, fairly, into thescope of the appended claims.

I claim:

1. The. method of producing a multipose picture of a given subject on asingle negative, which consists in first photographing the subjectagainst a portion of the background, using a non-actinic surface atleast for the remainder. ofthe background within the. range of theobjective but without the scope of the exposure, then photographing thesubject against another portion of. the background, using a non-actinicsurface for the portion of the background previously used, parts of saidsubject being made to appear as overlapping other parts thereof in thefinished picture, by being given a liiigher actinic value in relation tothe sensitized surface of the negative used.

2. The method of producing a multipose picture-of a given subject on asingle negative, which consists in first photographing the subjectagainst a portion of the back ground, using non-actinic surface at leastfor the remainder of the background Within the range'ofthe objective butwithout the scope of the exposure, then photographing the subjectagainst another portion of the background, using a non-actinic surfacefor the portion of the background previously used, parts of said subjectbeing made to appear as overlapping other parts thereof in the finishedpicture, by placing said overlapping parts nearer the camera in thelater exposure.

The method of n'oducing a multipose picture of a given subject on asingle negative, which consists in first photographing the subjectagainst a portion of the background, using a non-actinic surface atleast for theremainder of the background within the range of theobjective but wvithout the scope of the exposure, then photograph ingthe subject against another portion of the background, using anon-actinic sur face for the portion of the background previously used,the second exposure being co-related to the first by determining bothexposures in relation to a common reference medium.

4t. The method of producing amultipose picture of a given subject on asingle negative, which consists in first photographing the subjectagainst a portion of the background, using a non-actinic surfaceat'least for the remainder of the background within the range of theobjective but without the scope of the exposure, then photographing thesubject against another portion of the l background, using a non-actinicsurface for the portion of'the background previously used, the secondexposure being co-related to the first by determining both exposures inrelation to'a common reference medium, said reference medium beingshielded by a non-actinic covering in all the exposures but one, andbeing uncovered in said one exposure, when used asan element of thefinished composition.

5. The method of producing a multipose picture of a given subject on asingle negative, which consists in first photographing the subjectagainst a portion of the background, using a non-actinic surface atleast for the remainder of the background *ithin the range of theobjective but with out the scope of the exposure, then photographing thesubjectagainst another portion of the background, using a' non-actinicsurface for the portion of the background previously used, the secondexposure being co-reiated the first bydetermining both exposures inrelation to a common referlit) ence medium, parts of said subject beingmade to appear as overlapping other parts thereof in the finishedpicture, by being given a higher actinic value in relation to thesensitized surface of the negative used.

6. The method of producing a multipose picture of a given subject on asingle negative, which consists in first photographing the subjectagainst a portion of the background, using a non-actinic surface atleast for the ren'iainder of the background within the range of theobjective but without the scope of the exposure, then photographing thesubject against another portion of the background, using a non-actinicsurface for the portion of the background previously used, the secondexposure being co-related to the first by ijletermining both exposuresin relation to a common reference medium, parts of said subject beingmade to appear as overlapping other parts thereof in the finishedpicture, by placing said overlapping pairts nearer the camera in thelater exposure.

7. The method of producing a multipose picture of a given subject on asingle negative, which consists in first photographing the subjectagainst a portion of the background, using a non-actinic surface atleast for the remainder of the background Within the range of theobjective but without the scope of the exposure, then photographing thesubject against another portion of the background, using a non-actinicsurface for the portion of the background previously used, the secondexposure being co-related to the first by determining both exposures inrelation to a common reference medium, said reference medium beingshielded by a non-actinic covering in all the exposures but one, andbeing uncovered in said one exposure, when used as an element of thefinished composition, parts of said subject being made to appear asoverlapping other parts thereof in the finished picture, by being givena higher actinic value in relation to the sensitized surface of thenegative used.

8. The method of producing a multipose picture of a given subject on asingle negative, which consists in first photographing the subjectagainst a portion of the back ground, using a non-actinic surface atleast for the remainder of the background within the range of theobjective but without the scope of the exposure, then photographing thesubject against another portion of the background, using a non-actinicsurface for the portion of the background previously used, the secondexposure being co-related to the first by determining both exposures inrelation to a common reference medium, said reference medium beingshielded by a non-actinic covering in all the exposures but one, andbeing uncovered in said one exposure, when used as an element of thefinished composition, parts of said subject being made to appear asoverlapping other parts thereof in the finished picture, by

scope of the exposure, then photographing the subject against a paintedportion of background covering said non-actinic surface, after removingthe painted portion previously used so as to uncover a nonactinicsurface for the corresponding portion of the background.

10. The method of producing a multipose picture of a given subject on asingle negative, which consists in first photographing the subjectagainst a painted portion of the background,'using a non-actinic surfacefor the remainder of the background within the range of the objectivebut without the scope of the exposure, then photographing the subjectagainst a painted portion of background covering said non-actiniesurface, after removing the painted portion previously used so as touncover a non-actinie surface for the corresponding portion of thebackground, part of one of said painted portions overlapping part of theother and being nearer to said objective.

11. The method of producing a multipose picture of a given subject on asingle negative, which consists in successively taking pictures of saidsubject by separate exposures, while said subject occupies differentpositions in relation to the background, leaving both the camera and thenegative always in the same position, and each time exposing thenegative in its entirety to the photographic action, the backgroundproviding for each exposure a non-actinic surface at least for suchparts thereof which although within the range of the objective, remainwithout the scope of the said exposure.

12. The method of producing a multipose picture of a given subject on asingle negative, which consists in successively taking pictures of saidsubject by separate expo sures, while said subject occupies differentpositions in relation to the background, leaving both the camera and thenegative always in the same position, and each time exposing thenegative in its entirety to the photographic action, the backgroundproviding for each exposure a non-actinic surface at least for suchparts thereof which although within the range of the objective, remain

